Who found the violin?

Most scholars credit Andrea Amati of Cremona (c.1511-1577), as the first known violin maker
because there exists documentation of two violins he created between 1542 and and 1546.
However, these instruments had only three strings, like the rebec. The first four string violin, also
by Andrea Amati, was dated 1555.

What is the body of a violin made of?

The choice of woods is basically the same as in the piano, where a hardwood bridge is attached
to a spruce soundboard, mounted on a hardwood frame. The fingerboard of a violin is of ebony.
Some old violins have ivory fingerboards. Strings were originally made of gut.

How many octaves are there on a violin?

#8 owainsutton. However, if you look at this: Range of Instruments it shows that the cello has a
range of 3 and a half octaves, while the violin has a almost 4 and a half octave span! Pretty
impressive for an instrument that is so small!

How does sound work with a violin?

Sound is produced on a violin by dragging a bow across the string, which vibrates; then, the
vibration travels through the bridge into the top plate. Find out how the sound churns out of the F
hole in the violin with this free video from a professional violinist

Who was Stradivarius?

A Stradivarius is one of the violins, violas, cellos and other string instruments built by members
of the Italian family Stradivari (Stradivarius), particularly AntonioStradivari, during the 17th
and 18th centuries.

Who is Antonio Stradivari?

Antonio Stradivari (Italian pronunciation: [antnjo stradivari]; 1644 18 December 1737)
was an Italian luthier and a crafter of stringed instruments such as violins, cellos, guitars, violas
and harps.

Who is the most famous violin maker?

There have been hundreds of violin makers, or luthiers, but two Italians dominate the
conversation, especially when it comes to the most famous instruments in history.Antonio
Stradivari and Guarneri del Ges built creations that three centuries later can eclipse their
fiddlers in sheer stardom.
The violin, viola, and cello were first made in the early 16th century, in Italy. The earliest
evidence for their existence is in paintings by Gaudenzio Ferrari from the 1530s, though Ferrari's
instruments had only three strings. The Academie musicale, a treatise written in 1556 by
Philibert Jambe de Fer, gives a clear description of the violin family much as we know it today.

Violins are likely to have been developed from a number of other string instruments of the 15th
and 16th centuries, including the vielle, rebec, and lira da braccio. The history of bowed string
instruments in Europe goes back to the 9th century with the Byzantine lira (or lr, Greek: ).

Since their invention, instruments in the violin family have seen a number of changes. The
overall pattern for the instrument was set in the 17th century by luthiers like the prolific Amati
family, Jakob Stainer of the Tyrol, and Antonio Stradivari, with many makers at the time and
since following their templates.

The violin family of musical instruments was developed in Italy in the 16th century.At the time
the name of this family of instruments was violas da braccio which was used to distinguish them
from the viol family (violas da gamba). The standard modern violin family consists of the violin,
viola, cello, and double bass.

Instrument names in the violin family are all derived from the root viola, which is a derivative of
the Medieval Latin word vitula (meaning "stringed instrument"). A violin is a "little viola", a
violone is a "big viola" or a bass violin, and a violoncello (often abbreviated cello) is a "small
violone" (or literally, a "small big viola"). (The violone is not part of the modern violin family;
its place is taken by the modern double bass, an instrument with a mix of violin and viol
characteristics.)

The instruments of the violin family may be descended in part from the lira da braccio and the
medieval Byzantine lira.
The position of the sound post inside the violin is critical, and moving it by very small amounts
can make a substantial difference in the sound quality of an instrument. The thickness of the post
is important as well. Sound post adjustment is as much art as science, depending on the ears,
experience, structural sense, and sensitive touch of the luthier. Moving the sound post has very
complex consequences on the sound; in the end, it is the ear of the person doing the adjusting
that determines the desired location of the post.

Here are some rough guides to how sound post placement influences the sound quality of the
instrument:

If the sound is too thin and shrill, the post may be too near the f hole or too tight, or the post may
be too thin.

If the sound is weak and there is a loss of power (especially in the lower register), the post may
be too near the center of the instrument.

If there is a loss of overall power and tone, the post may be too far behind the bridge, or the post
may be too thick.